David Bowie - Tonight (LP) (1984) - €10,00

posted ad-vinylrecords

Tonight is the 16th studio album by English singer-songwriter David Bowie, released on 24 September 1984 through EMI America Records. 

The follow-up to his most commercially successful album Let's Dance (1983), it was written and recorded in mid-1984 at Le Studio in Morin-Heights, Canada, following the conclusion of the Serious Moonlight Tour. 

The music on Tonight has been characterised as pop, blue-eyed soul, dance and rock. Much of the album's sound is the same as its predecessor's, due to Bowie's effort to retain the new audience that he had recently attracted, although some tracks contain R&B and reggae influences.

Bowie, Derek Bramble, and Hugh Padgham produced the album. Much of Bowie's creative process was the same as he used on Let's Dance. Many of the same personnel from Let's Dance and the Serious Moonlight tour returned for the Tonight sessions, with a few additions. Like its predecessor, Bowie played no instruments on Tonight, instead offering little creative input to the musicians during the sessions. Devoid of new ideas from touring, Bowie wrote only two new songs himself. 

Three songs, including the title track, were covers of Iggy Pop songs, who was present during most of the sessions and co-wrote multiple tracks. 

The title track is a duet with singer Tina Turner. The artwork, featuring Bowie blue-painted against an oil painting backdrop, was designed by Mick Haggerty. 

Commentators have characterised Tonight as pop, blue-eyed soul, dance and rock. Furthermore, James Perone notes the presence of reggae, R&B and ska. The record's sound is similar to Let's Dance and the Serious Moonlight tour; Bowie purposefully made it this way because he felt the new fans he had accumulated would expect to hear the same thing on the new album that they had heard before. 

Of the nine songs on the album, Bowie was the sole writer for only two, "Loving the Alien" and "Blue Jean"; two, "Tumble and Twirl" and "Dancing with the Big Boys", were co-written by Bowie and Iggy Pop, and the remaining five are cover versions, three originally by Pop: "Don't Look Down", "Tonight" and "Neighborhood Threat". 

One cover was the Beach Boys' 1966 song "God Only Knows", which, according to Pegg, was shortlisted for Bowie's 1973 covers album Pin Ups. Bowie explained: "I think that [Tonight] gave me a chance, like Pin Ups did a few years ago, to do some covers that I always wanted to do." 

The final cover is the Jerry Leiber and Mike Stoller-penned "I Keep Forgettin'", originally made famous by Chuck Jackson.

Side one

Bowie described "Loving the Alien" as a very personal bit of writing that he did not feel fitted in with the rest of the album because it is such a dark song amidst lighter fare. He said, "'Alien' came about because of my feeling that so much history is wrong – as is being rediscovered all the time – and that we base so much on the wrong knowledge that we've gleaned." Alomar thought the song "had to do with Major Tom", a claim Bowie rejected. 

The lyrics are religion-based and politically charged. While Pegg believes it to be a terrific song, he finds it weighed down by "over-elaborate production". Bowie later admitted that the demo was superior. Bowie's reworking of "Don't Look Down" is influenced by reggae music. He had attempted it in many different ways, including jazz rock, march and ska, but felt none of them worked. O'Leary criticises Bowie's version, finding that it strips the "power" of Pop's original. Buckley on the other hand, finds it "super-cool".

Bowie's rendition of "God Only Knows" incorporates strings and saxophone, while he sings his vocal in a croon. Although Bowie was defensive of his recording in an interview with Charles Shaar Murray in 1984, both Pegg and O'Leary consider Bowie's rendition as "the worst recording he ever made". 

Buckley equally calls it one of two "nadirs" on the record and a "bathetic interpretation". For the title track, Bowie eliminated Pop's original spoken word introduction, calling it an "idiosyncratic thing of [Pop's] that it seemed not part of my vocabulary." 

Bowie's rendition, sung as a duet with Tina Turner, is reggae-influenced. Her vocals are placed low in the mix, which O'Leary believes gives her "no entry point". Despite mostly being held in low regard, Kurt Loder of Rolling Stone at the time praised Bowie's version, calling it "one of the most vibrantly beautiful tracks he's ever recorded".

Side two

"Neighborhood Threat" features a heavier guitar sound than Pop's original, although Pegg says that Bowie's version lacks the original's "doom-laden percussion and wall-of-sound atmospherics". It stands out as a track Bowie wished he had not done, with him later calling it "disastrous". "That's one I wish I'd never touched, or at least touched it differently. It went totally wrong. 

It sounded so tight and compromised, and it was such a gas doing it. It was the wrong band to do it with – wonderful band, but it wasn't quite right for that song." "Blue Jean" has been generally seen as the best song on the album.  

O'Leary writes it follows the "Let's Dance formula", in that it's an "uptempo throwback" to 1950s and 1960s artists, particularly Eddie Cochran. Later dubbed by Bowie as "sexist rock 'n' roll", Buckley calls it a "fine pop song", albeit "slightly run-of-the-mill by Bowie's standards".

"Tumble and Twirl" recounts Bowie and Pop's exploits while vacationing in the Indonesian islands of Bali and Java after Bowie's previous tour had ended. Bowie felt that lyrically Pop's work stood out the most on the track. Pegg finds its music as reminiscent of world music, which Bowie explored on Lodger (1979). Biographers have criticised the rendition of "I Keep Forgettin'"; Buckley called it "unmemorable". 

At the time, Bowie said, "I always wanted to do that song." "Dancing with the Big Boys" is about the "little guy" being crushed by "oppressive corporate structures". The lyrics were taken from a backlog of unused lyrics. Containing many studio effects, Pegg says it foreshadows what Bowie would explore on Never Let Me Down (1987). Bowie has said it is the "best example" of what he was trying to accomplish on Tonight:

There's a particular sound I'm after that I haven't really got yet; I'll either crack it on the next album or retire from it. I think I got quite close to it on "Dancing with the Big Boys." ... I got very musical over the last couple of years – trying to write musically and develop things the way people used to write in the Fifties. I stayed away from experimentation. Now, I think I should be a bit more adventurous. And in "Big Boys," Iggy and I broke away from all that for one track, and it came nearer to the sound I was looking for than anything else.

Side one

1.  Loving The Alien - 7:07  

2.  Don’t Look Down - 4:08  

3.  God Only Knows - 3:04  

4.  Tonight (feat. Tina Turner) - 3:42  

Side two

1.  Neighborhood Threat - 3:10  

2.  Blue Jean - 3:09  

3.  Tumble And Twirl - 4:56  

4.  I Keep Forgettin’ - 2:32  

5.  Dancing With The Big Boys (feat. Iggy Pop) - 3:32  

Personnel

Adapted from the Tonight liner notes.

David Bowie – vocals Derek Bramble – guitar; guitar synthesiser; bass guitar; synthesiser; backing vocals Carlos Alomar – guitars Omar Hakim – drums Carmine Rojas – bass guitar Mark King – bass guitar ("Tumble and Twirl") (uncredited) Rob Yale – Fairlight CMI ("Loving the Alien", "Tonight", "God Only Knows") (uncredited) Guy St. Onge – marimba Sammy Figueroa – percussion Tina Turner – lead vocals ("Tonight") Iggy Pop – backing vocals ("Dancing with the Big Boys") Robin Clark – backing vocals George Simms – backing vocals Curtis King – backing vocals Arif Mardin – string arrangements; synthesisers Mark Pender – flugel horn; trumpet

The Borneo Horns

• Stanley Harrison – alto saxophone; tenor saxophone
• Lenny Pickett – tenor saxophone; clarinet
• Steve Elson – baritone saxophone

Production

• David Bowie – producer
• Derek Bramble – producer
• Hugh Padgham – producer, engineer and mixer

Notes

Release:  1984

Format:  LP

Genre:  Pop, Blue-Eyed Soul

Label:  EMI Records

Catalog#  1C 064-240227-1

Vinyl:  Excellent

Cover:  Excellent

Prijs: €10,00

Santana - Moonflower (2LP) (1977) - €20,00

posted by ad-vinylrecords

Moonflower is a double album released in 1977 by Santana. The recording features both studio and live tracks, which are interspersed with one another throughout the album. It is perhaps the group's most popular live album.

It displays a mix between the fusion of Latin and blues-rock styles of the late 1960s and early 1970s, and the much more experimental and spiritual jazz fusion sound that characterized the band's mid-1970s work. The live material was recorded during the supporting tour for the Amigos album.

Say what you may about Carlos and his cronies. Like them or not, they’re unquestionably one of the most unique bands in the world. No one combines Afro-Latin rhythms, Central/South American melodic sensitivities and top shelf jazz/rock fusion like they do and few try. They set the bar so high that even poor imitations are hard to find. But what attracts me to Santana more than anything else is their fire. Their unbridled passion. 

Their amazing energy. You know, the stuff that can’t be faked. All of which is in full, glorious bloom on “Moonflower.” I can’t say those things about all their albums, but most of them. For example, how they could follow up their incredible, ground-breaking, earth- shaking “Caravanserai” with the flat, insipid waste-of-time that was “Welcome” is baffling and almost unforgivable. 

Yet that was just a glitch. All in all their impressive catalogue of work is fairly consistent and if all a progster knows about them is to be found on their greatest hits CD then that person is missing out on a lot of great, challenging music. In which case this collection of live and studio cuts will give the neophyte both an education and a new perspective on why Santana is so popular and revered well after over four decades have passed since their inception in 1967. 

On the other hand, if you’re a fan and, like me, didn’t bother to snap up a copy of this record for whatever cockeyed reason I urge you to put this one at the apex of your “to buy” list today. There’s not a bad track on it and it’ll remind you of why you were attracted to them in the first place.

I must admit that the intro for the first song, “Dawn,” frightened the feces out of me because I thought for a moment that they were about to break into “I Will Survive,” something that I wouldn’t have. Thank God they didn’t. It’s just a fake-out. 

They mesh this odd little Tom Coster instrumental with Devadip Carlos Santana’s “Go Within” to create a short piece of contemporary jazz that sounds suspiciously like a backing track that never got its vocal recorded. Tom’s Ramsey Lewis-ish piano injections keep it from floundering but it’s still the runt of the litter and they shouldn’t have opened the album with it. It’s misleading. 

All is forgiven in a heartbeat, however. What follows is a spirited three-song medley taped live and my initial reaction was “Oh, yeah, now you’re talkin’!” as the broiling percussion of Jose “Chepito” Areas, Pablo Tellez and Raul Rekow sparks the group and the audience as if they ignited the fuse on a stick of dynamite. 

This leads to the speedy rock samba of “Carnaval” wherein Coster’s synth ride slices like a scalpel, a showcase of Devadip’s melodious guitar lines and an infectious group refrain on “Let the Children Play,” and then a cool blending-in of the no habla englais chanting of “Jugando” with Tom’s sizzling Hammond organ solo serving as the capper. 

A hard rock riff accompanied by some out-of- this-plane-of-existence percussion evolves into a furious jam featuring Coster as he slays all in attendance with his blistering ARP lead and Devadip chars a permanent spot on the stage floor. At one point either Tom or Carlos summons an awesome, screeching yelp out of their instrument akin to a bobcat-with-its-tail-clamped-in-a-bear-trap’s wail that’ll make your hair stiffen, salute and stand at attention. Yowza!

Next up is a bit of a breather by the name of “I’ll Be Waiting,” a smooth, AOR number with a fine vocal provided by Greg Walker, one of the better warblers this combo has led to the mike stand. 

The song won’t change your life but it makes for pleasant listening and Carlos takes the opportunity to show that he has a lighter but no less talented touch on the fretboard toward the end. “Zulu” has a proggy, glistening intro provided by Tommy Coster Jr.’s enlightened piano but this instrumental soon escalates into a specimen of intense funk fusion wherein bassist David Margen impresses and Pete Escovedo takes out his frustrations on his hapless timbales. “Bahia” is a brief but grand instrumental filled with flashy Liberace-like piano flourishes and penetrating percussion staccatos. 

The in-concert version of “Black Magic Woman” comes next and let me say this about it. There are hordes of groups out there who trot out their hits with all the enthusiasm of kissing their wrinkled, moldy grandmother on the lips (you know who you are) but that doesn’t apply here. Santana’s faithfully-played-but-at-100-miles-per-hour rendition has astounding electricity and Devadip attacks his guitar as if he’s playing to save his soul. 

And when they slip into Gabor Szabo’s “Gypsy Queen” they set the arena ablaze. It’s mighty mighty. “Dance Sister Dance,” also live, is a joyous antidote for sour moods. Carlos’ guitar work is ferocious (his deft use of feedback blinds like a laser beam) and Tom does a bang-up job of channeling Chick Corea on the synthesizer all the way up to the tight-as-pyramid-blocks ending.

Devadip’s performance of his signature instrumental “Europa (Earth’s Cry, Heaven’s Smile)” contains more passion than an afternoon of soap operas and his utilization of multiple guitar tones shows that this boy’s not just some one-trick pony. 

Santana scored yet another Top 40 single with their inventive re-arranging of the classic “She’s Not There,” due in no small part to the strong dynamics they adorned it with, not to mention Carlos’ scorching guitar effect and Escovedo’s hot timbale spasms. 

This is how to do a cover right! “Flor D’Luna” is a romantic instrumental with a dreamy groove and depth of field that doesn’t abandon their South American roots. One thing to keep in mind with the live tracks is that they were all recorded in front of throngs of palefaces in Germany, France and England so it’s not like they were partying with their Chicano homies in the Barrio. They weren’t earning free brownie points through shared ethnicity, if you catch my drift, thus they had to work hard for their harvest. 

And work they did. The vigorous, aggressive attitude they bring to “Soul Sacrifice” from their debut LP is mind-blowing. First they rev up the tempo and then the percussion section manned by Areas, Tellez and Rekow literally rattles terra firma below. Graham Lear’s drum solo is so extraordinary that they gave it the title of “Head, Hands & Feet” (What else could he use? His WHAT? Ooo. 

That’d leave a mark.) so he could collect royalties from it. Devadip’s ride is as wild as a free-range filly and Tom tears into his Hammond organ with a vengeance before they enter a serene “bring it down” section that is transcendent via some calming, airy synth strings. 

They then proceed to build it back up and toss in a few more tortured bobcat screams on their way to the impossible-to-be-improved-upon climactic ending that brought the Woodstock nation to its feet on Max Yasgur’s farm where their legend began.

“El Morocco” has a dramatic, one note opening that leads to a spirited fusion romp pitting Coster and Carlos in a “top this lick” contest that gets pretty frenzied. It morphs into a Jeff Beckian rocker in the second half and exits in a jazzy flair. 

Nice going, amigos. “Transcendance” (Not a misspelling. It’s a trick.) sports a mysterious onset and then slides into an R&B backdrop for Walker’s silky vocals. Tom emits an expressive ARP ride and then they jump into double-time for Devadip’s shredding extravaganza before the whole shebang collapses for some soulful riffs from Greg’s tonsil cavern. 

They end with the group on stage again for a performance of “Savor” that storms out of the gate at full gallop with frenetic drums, timbales, and congas in the dust-raising forefront. I’ve always been a fan of the Hammond organ and Coster gives my hero Brian Augur a run for his money here. 

A spectacular percussion break follows and all I can say is Holy Maracas, Batman! I LOVE this stuff! They transition seamlessly into “Toussaint L’Overture” for the finale and, while Carlos’ doesn’t exactly take a nap stage left, Tom once again cranks up his Hemi-powered Hammond and drives it hard, generating the unstoppable inertia of a 40- ton locomotive in the process. Devadip closes the deal with guitar death screams that leave the audience flabbergasted and begging for more.

Still not convinced that Santana’s one of the best in all of progdom? Consider this. They’re one of the purest groups ever in that they’ve never once relied on anything but their music. 

Yes and Pink Floyd had their dazzling stage shows. Genesis and ELP had their eye- boggling lighting effects. 

Others had charismatic front men or a to-die-for roster of untouchable virtuosos. But Santana was just a band of dedicated musicians giving their all every time the microphones were turned on whether in the isolation of the studio or in the presence of tens of thousands. 

No gimmicks, just undiluted enthusiasm and raw power sprinkled with an occasional touch of grace. “Moonflower” isn’t their best (“Caravanserai” holds that trophy) but it contains everything I adore about these guys and the respected institution they built with their own hands and hearts over long years of commitment to just making good music together.

Side one

1.  Dawn/Go Within - 2:44 (studio)

2.  Carnaval - 2:17  (Live)

3.  Let the Children Play - 2:37 (Live) 

4.  Jugando - 2:09 (live)

5.  I’ll Be Waiting - 5:20 (studio) 

6.  Zulu - 3:25 (studio)

Side two

1.  Bahia - 1:37 (studio)

2.  Black Magic Woman/Gypsy Queen - 6:32 (Live)

3.  Dance Sister Dance (Baila Mi Hermana) - 7:45 (Live) 

4.  Europa (Earth’s Cry Heaven’s Smile) - 6:07 (Live) 

Side three

1.  She’s Not There - 4:09 (studio) 

2.  Flor d’Luna (Moonflower) - 5:01 (studio)

3.  Soul Sacrifice/Head, Hands & Feet - 14:01 (Live) 

Side four

1.  El Morocco - 5:05 (studio)

2.  Transcendence - 5:13 (studio)

3.  Savor/Toussaint L’Overture - 12:56 (Live) 

Musicians

• Greg Walker – vocals
• Carlos Santana – guitar, vocals, percussion
• Tom Coster – keyboards
• Pablo Tellez – bass, vocals (live tracks)
• David Margen – bass (studio tracks)
• Graham Lear – drums
• Raul Rekow – percussion
• José "Chepito" Areas – percussion (live tracks)
• Pete Escovedo – percussion (studio tracks)
• Tommy Coster – keyboards on "Zulu"

Companies, etc.

• Record Company – CBS Inc.
• Phonographic Copyright ℗ – CBS Inc.
• Copyright © – CBS Inc.
• Recorded At – Rolling Stones Mobile
• Recorded At – Olympiahalle Munich
• Recorded At – Foire des Vins-Colmar
• Recorded At – Pavillon De Paris
• Recorded At – Hammersmith Odeon
• Recorded At – CBS Studios, San Francisco
• Mixed At – The Automatt
• Pressed By – CBS, Haarlem – 01-88272
• Printed By – Shorewood Packaging
• Published By – Light Music (3)
• Published By – Carlin Music Corp.
• Published By – Copyright Control
• Published By – Flying D Music
• Published By – Marquis Music

Credits

• Arranged By [String], Performer [String] – Tom Coster
• Art Direction – Herb Greene, Roslav Szaybo
• Congas, Bongos, Surdo, Cowbell, Percussion, Backing Vocals – Raul Rekow
• Drums [Yamaha], Percussion – Graham Lear
• Electric Bass [Fender Bass] – David Margen (tracks: A1, A2, A7, B1, C1, C2, D1, D2), Pablo Tellez (tracks: A3 to A6, B2 to B5, C3, D3, D4)
• Engineer – Glen Kolotkin (tracks: A6)
• Engineer [Assistant, Recording In Europe] – Chiao Ng, Peter Crumb, Peter Stevens
• Engineer [Recording In Europe] – Rod Thear
• Graphics – John Paul Jones, Russ Anderson 
• Guitar, Congas, Timbales, Percussion, Backing Vocals – Devadip Carlos Santana
• Lead Vocals, Backing Vocals – Greg Walker
• Mixed By – Tom Vicari
• Mixed By [Assistant] – Chris Minto
• Music Director [Musical Direction] – Devadip Carlos Santana, Tom Coster
• Organ [Hammond], Electric Piano [Yamaha Electric Grand, Fender Rhodes], Synthesizer [Arp Omni, Arp Dgx Pro Solist, Arp Odessey, Arp String Ensemble, Mini Moog], Vibraphone [Vibes], Marimba, Backing Vocals – Tom Coster
• Photography By [Inside Sleeves: Devadip Carlos Santana] – Heavy Photo
• Photography By [Inside Sleeves: Hand Percussion] – Don Briggs
• Photography By [Inside Sleeves: Santana Band] – Dennis Callahan, Don Briggs, Ethan Russell, Richard McCaffree
• Photography By [Outside And Inside Covers] – Yoshikazu Shirakava
• Producer – Devadip Carlos Santana, Tom Coster
• Producer [Associated] – Bill Graham (2), Ray Etzler
• Producer [Production In Europe], Recorded By [Live Recording In Europe] – David Rubinson & Friends, Inc.
• Recorded By – George Engfer, Tom Vicari
• Synthesizer [Pro Soloist] – Tommy Coster Jr. (tracks: A7)
• Timbales, Congas, Bell Tree – Jose "Chepito" Areas (tracks: A3 to A5, B2 to B5, C3, D3, D4)
• Timbales, Guiro, Maracas – Pete Escovedo (tracks: A7, B1, C1, C2)

Notes

Release:  1977

Format:  2LP

Genre:  Latin Rock

Label:  CBS Records

Catalog#   88272

Vinyl:  Excellent

Cover:  Excellent (Gatefold)

Prijs: €20,00

George Duke - Rendezvous (LP) (1984) - €10,00

posted by ad-vinylrecords

Rendezvous was released in 1984, about the time classic rock and jazz fans of the 60's and 70's music were quickly losing interest in their music heroes as increasing influence from the music industry put a stranglehold on genuine artistic freedom. 

Some great albums were released in that span, but for me those gems are few and far between.

RENDEZVOUS was produced by George, who wrote or co-wrote all but two of the tracks. Featured musicians on the album included longtime musical associates Byron Miller on bass, Ndugu Chancler on drums, Paulinho Da Costa on percussion, Josie James and Lynn Davis on background vocals,Jerry Hey on trumpet and Michael Sembello on guitar with special guests Stanley Clarke, Steve Ferrone (of Average White Band) on drums, Nathan East (on bass).

With a strong Earth, Wind & Fire influence on several tunes such as Stay Awhile, Got To Get Back To Love and She Can Wait Forever, other key cuts on the album include the Brazilian-flavoured Ipanema Lady and the mellow smooth jazz- styled, Thinking Of You. 

Rendezvous is definitely one of them, a solid effort that showcases all of Duke's immeasurable skills as a composer, arranger, producer, performer, and so on. The album does have that tinny 80's digital sound, especially in the gated drums.

Side one

1.  Got To Get Back To Love - 5:28  

2.  Stay Awhile - 2:58  

3.  Secret Rendezvous - 4:50  

4.  Thinking Of You - 4:06  

Side two

1.  Take It On - 3:51  

2.  She Can Wait Forever - 4:01  

3.  Better Ways - 4:23  

4.  Your Life - 2:55  

5.  Ipanema Lady - 3:36 

Companies, etc.

• Phonographic Copyright ℗ – CBS Inc.
• Copyright © – CBS Inc.
• Produced For – George Duke Enterprises
• Recorded At – Le Gonks West
• Recorded At – A&M Studios
• Recorded At – Fantasy Studios
• Recorded At – Westlake Audio
• Recorded At – Sound Labs, Hollywood
• Recorded At – Soundcastle
• Recorded At – The Complex
• Mastered At – Bernie Grundman Mastering
• Published By – Mycenae Music
• Published By – Almo Music Corp.
• Published By – Evan Paul Music
• Published By – Leibraphone Music

Credits

• Art Direction – Lane/Donald
• Artwork – Mati Klarwein
• Concertmaster – Charles Veal Jr. (tracks: A4)
• Drum Programming [Simmons] – John Gilston
• Engineer [Additional] – Norm Kenny (tracks: A1, A3)
• Engineer [Assistant] – James "Chip" Orlando, Erik Zobler, Jim Cassell, Mark Ettel, Mitch Gibson, Murray Dvorkin, Nick Spigel, Wally Buck
• Engineer, Remix – Tommy Vicari
• Management – Herb Cohen Management
• Mastered By – Brian Gardner, Brian Gardner
• Photography By – Sam Emerson
• Producer – George Duke
• Producer [Assistant] – Connie de Guzman
• Technician [Assistant] – Brent Averi

Notes

Release:  1984

Format:  LP

Genre:  Jazz-funk

Label:  Epic Records

Catalog#  EPC 26059

Vinyl:  Excellent

Cover:  Excellent

Prijs: €10,00

Jo Lemaire - Jo Lemaire (LP) (1984) - €10,00

posted by ad-vinylrecords

Jo Lemaire (Gembloers, 31 januari 1956) is een Belgische zangeres. In 1981 had ze een nationale en Europese hit met het Serge Gainsbourg nummer: "Je suis venue te dire que je m'en vais". 

Eind jaren zeventig begon Jo Lemaire haar muzikale loopbaan met de newwavegroep Jo Lemaire & Flouze. De groep werd opgericht in 1977 door Jo Lemaire en haar toenmalige echtgenoot Philippe Depireux.

In 1982 verhuisde ze met haar nieuwe vriend Fa Vanham naar Bilzen in Limburg. 

Een jaar later volgt er een tweede, titelloze, plaat, eveneens met Fa Vanham als muzikale duizendpoot en Jean-Marie Aerts (zie TC Matic, JMX) aan de productie. Alhoewel opnieuw van hoge kwaliteit, verbaast de plaat wat minder.

Side A

A1.  Captive Et Innocente - 4:20

A2.  Tentations - 3:11

A3.  Une Personne Sentimentale - 4:00

A4.  L’Enfer A Deux - 3:47

A5.  Tant Pis - 3:55

Side B

B1.  Filles De Joie - 4:05

B2.  La Beaute Du Diable - 4:16

B3.  Les Choses De La Vie - 3:13

B4.  Au Coeur De La Nuit - 3:43

B5.  Mohican - 4:15

Companies, etc.

• Recorded At – ICP Recording Studios
• Published By – Intersong Primavera

Credits

• Backing Vocals – Claude Morane, Eric Chale, Ilona Chale, Isabelle Graff, Marine Kiwitz
• Bass Guitar – Ferre Baelen (tracks: A3)
• Cello – Denis Van Hecke (tracks: B5)
• Drums – Jean Pierre Onraedt (tracks: B3), Marc Bonne (tracks: A3)
• Effects – Werner Pensaert
• Engineer – Christian Ramon, Erwin Autrique, Jean Trenchant, Michel Dierickx
• Graphics – E201
• Lead Vocals, Written-By – Jo Lemaire
• Percussion – Marc Bonne (tracks: A1, A2)
• Photography By – Danny Willems
• Producer – Jean-Marie Aerts (tracks: A4), Sylvain Vanholme
• Producer, Guitar, Bass Guitar, Piano, Synthesizer, Drum Programming, Written-By – Fa Vanham
• Saxophone – Johnny Dover (tracks: A2)
• Trumpet – Youssef Yanci (tracks: A1)

Notes

Release:  1984

Format:  LP

Genre:  Franstalig, Synth-pop

Label:  Vertigo Records

Catalog#  822 993-1

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

The Rainmakers - The Rainmakers (LP) (1986) - €10,00

The Rainmakers is the debut album by the Rainmakers, produced by Terry Manning and released in 1986. It is their highest-charting album on the Billboard albums chart, reaching No. 85, and contains the single "Let My People Go-Go", which reached No. 18 on the UK Singles Chart. 

The 80s were not a fertile ground for new and interesting bands as far as I’m concerned; so, with their correct resurrection of ancient Rock values, the Rainmakers managed to raise some eye-brows in amazed awe and respect with their debut album; yet, this was a very misleading album and you risked being very deceived when flipping sides on you vinyl LP, side two being with the glorious exception of “Nobody Knows”, a crappy bunch of mainstream Country-Rockers, soaked in cheesy, redundant Poppy elements and even some crooner-vocal inflections.

Not so with side one, where contrary to some opinions Walkenhorst voice is a precious asset with its really Rocking and at times Punk-y conviction and often displaying an Iggy Pop like magnetism not to mention the fact that he writes some cool lyrics; the other pole of attraction is guitarist Steve Philips who effortlessly unleashes powerful, confident and convincing guitar work;

The Memphis Horns contribute occasionally with their resolute horn power both on their hit “Let my people go” which combines a underlying Gospel state of mind with a Stones like drive, and on the opening “Rockin’ at the T-Dance”, which same as the mentioned and Steve Phillips sang “Nobody Knows” exhibits an AC/DC like grit; “Downstream” and “Doomsville” are a couple of George Thorogood reminiscing or a mix of ferocious Swamp-Rock with U2 like airy arpegiated rhythm basis numbers with biting slide licks or persuasive and mean guitar work.
Philips was no virtuoso and didn’t invent anything new, but his work on this album is worth a listen and he confirms it in a savagely delicious manner on the raunchy “Big Fat Blonde”.

Side A

A1.  Rockin’ At The T-Dance - 3:23

A2.  Downstream - 3:28

A3.  Let My People Go-Go - 3:37

A4.  Doomsville - 4:27

A5.  Big Fat Blonde - 2:55

Side B

B1.  Long Gone Long - 4:08

B2.  The One That Got Away - 2:53

B3.  Government Cheese - 2:53

B4.  Drinkin’ On The Job - 3:45

B5.  Nobody Knows - 3:33

B6.  Information - 4:46

The Rainmakers

• Bob Walkenhorst - lead vocals, acoustic guitar
• Rich Ruth - bass, vocals
• Steve Phillips - electric guitar, vocals, lead vocal on "Nobody Knows"
• Pat Tomek - drums

Additional musicians

• Terry Manning - keyboards
• The Memphis Horns

Companies, etc.

• Made By – PolyGram
• Manufactured By – Polygram Records
• Marketed By – Polygram Records
• Phonographic Copyright ℗ – PolyGram Records, Inc.
• Copyright © – PolyGram Records, Inc.
• Published By – Screen Gems-EMI Music Inc.
• Published By – Bob Walkenhorst Music
• Published By – Webelo Ya-Ya Music
• Published By – Unichappell Music, Inc.
• Produced For – Alpha Sound 
• Recorded At – Ardent Studios
• Mastered At – Masterdisk

Credits

• Art Direction – Bill Levy
• Design – Bruce Allen
• Management – Good Music Management
• Mastered By – Bob Ludwig
• Painting – Thomas Hart Benton
• Photography By – Laurie Allen
• Producer, Engineer, Keyboards – Terry Manning
• Words By, Music By – Bob Walkenhorst 

Notes

Release:  1986

Format:  LP

Genre:  Pop, Rock

Label:  Mercury Records

Catalog#  830 214-1

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Vesta Williams - Vesta 4 U (LP) (1988) - €10,00

Vesta 4 U is the second studio album by American R&B singer Vesta Williams, released on November 21, 1988 on A&M Records. 

The booming, soulful voice of Vesta Williams wasn't always well served in the urban contemporary production scheme of the 1980s, but she got a chance to cut loose and soar on the single "Sweet Sweet Love." That song was this album's salvation, and it helped keep her hit streak alive and bring her solidly into the '90s. 

Her 1988 release, Vesta 4 U, produced the Top 10 R&B hits "Sweet Sweet Love", "4 U", and "Congratulations", with the latter peaking at #55 on the Hot 100 chart and #5 on the R&B chart. "Congratulations" was Vesta's only single to enter the Hot 100 chart. The album was also her most successful, and her only album to appear on the US Billboard 200, peaking at No. 131.

Side A

A1.  Here / Say - 4:57

A2. All On You - 4:11

A3.  4 U - 5:15

A4.  Sweet, Sweet Love - 5:37

Side B

B1.  How You Feel - 5:01

B2.  Best I Ever Had - 4:06

B3.  Hunger - 4:29

B4.  Congratulations - 4:25

B5.  Running Into Memories - 4:20

Companies, etc.

• Phonographic Copyright ℗ – A&M Records, Inc.
• Copyright © – A&M Records, Inc.
• Recorded At – Skip Saylor Recording
• Mixed At – Encore Studios
• Recorded At – Hitsville
• Recorded At – The Edge (3)
• Mixed At – Conway Studios
• Recorded At – TMF Studios, Toluca Lake, CA

Credits

• Art Direction – Chuck Beeson
• Design – Mary Maurer
• Executive-Producer – EJ Jackson
• Photography By – Todd Gray

Notes

Release:  1988

Format:  LP

Genre:  Soul, New Jack Swing

Label:  A&M Records

Catalog#  395 223-1

Vinyl:  Excellent

Cover:  Excellent

Prijs: €10,00